Gordon Cheung's paintings create spaces of fictive encounter that draw on the lucid nostalgia of multiple layers of cultural motifs that include comic books, cinema and computer gaming. The pictorial elements of the work are underpinned by collaged elements, vertically aligned financial numbers from the stock market pages of the Financial Times. Structurally supporting the printed and painted overlay of urban reaches and tower blocks, these newspaper elements hint as much to a fragility and disjunction underlying the paradigms of a global economy as they do to the power of construction. The capitalist money markets exist in a real sense in these landscapes, and the works draw on the fluctuation of both utopian and dystopian fields of encounter, describing an uncertain terrain between real and unreal spaces, and between economies of cultural exchange in a world underpinned by numbers and a global network of virtual reality.